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AUTHOR: 


RICHARDSON  LEON  J 


TITLE: 


HORACE'S  ALACAIC 
STROPHE 

PLACE: 

BERKELEY 

DA  TE : 

1907 


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UNIVERSITY    OF   CALIFORNIA    PUBLICATIONS 
CLASSICAL   PHILOLOGY 


Vol.  1,  No.  6,  pp.  175-204 


March  2a,  1907 


HORACE'S  ALCAIC  STROPHE 


BY 


LEON  JOSIAH   RICHARDSON 


BERKELEY 
THE  UNIVERSITY  PRESS 


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UNIVERSITY    OF    CALIFORNIA    PUBLICATIONS 
CLASSICAL    PHrLOLOGY 

Vol.  1,  No.  6,  pp.  175-204  „„ch  23,  1907 


HORACE'S    ALCAIC    STROPHE 


BY 


LEON  JOSIAH  RICHARDSON. 


I 


The  Alcaic^  strophe  as  employed  by  Horace  involves  the  fol- 
lowing quantities : 


Deseende  caelo  et  die  age  tibia 
regina  longum  Calliope  melos, 
seu  voce  nunc  mavis  acuta, 
seu  fidibus  citharave  Phoebi. 


A.     THE  ELEVEN-SYLLABLE  ALCAIC. 


(Ill,  4,  1-4.) 


(1)  What  word-arrangements  are  possible  in  a  line  of  eleven 
syllables  and  how  many  of  them  did  Horace  actually  employ  ?  It 
is  evident  that  there  are  two  ways  of  arranging  words  in  a  line 
of  two  syllables  (namely,  either  monosyllable  monosyllable  or 
dissyllable),  four  ways  in  a  line  of  three  syllables,  eight  ways  in 
a  line  of  four  syllables,  and  so  on.  In  short,  we  are  able  to  make 
out  the  total  possible  ways  in  a  given  line  by  means  of  the  for- 
mula 2  "-»  (n  being  the  number  of  syllables  in  the  line).  Thus  it 
appears  that  in  a  line  of  eleven  syllables  1,024  different  arrange- 
ments^^ possible.     Yet  among  his  634  examples  of  A  Horace 

'  This  meter  is  found  in  thirty-seven  of  Horace's  Odes,  aggregating  317 
strophes  or  1,268  lines.  Ten  of  these  Odes,  containing  60  strophes,  are  in 
Book  I;  twelve,  containing  86  strophes,  are  in  Book  U;  eleven,  containing 
118  strophes,  are  m  Book  III;  and  four,  containing  53  strophes,  are  in  Book 


176  University  of  California  Puhlications.     [Class.  Phil. 

employed  only  117  arrangements,  confining  himself  generally  to 
the  19  that  follow: 

1.  doctus  sagittas  tendere  Sericas  (47  cases) 

2.  qiiicunique  terrae  munere  veseimur  (46  cases) 

3.  laetum  theatris  ter  crepuit  sonura  (29  cases) 

4.  auclire  magnos  iam  videor  duces  (25  cases) 

5.  inutaret  umbras  et  iuga  demeret  (25  cases) 

6.  atqui  sciebat  quae  sibi  barbarus  (23  cases) 

7.  odi  profanum  volgus  et  arceo  (18  cases) 

8.  me  iiec  Chimaerae  spiritus  igneae  (18  cases) 

9.  hie  innocentis  pocula  Lesbii  (17  cases) 

10.  donee  virenti  canities  abest  (17  cases) 

11.  O  matre  pulclira  filia  pulchrior  (16  cases) 

12.  robustus  acri  militia  puer  (16  cases) 

13.  vixi  puellis  nuper  idoneus  (15  cases) 

14.  delevit  urbem  Dacus  et  Aethiops  (12  cases) 

15.  perire  quaerens  nee  muliebriter  (11  cases) 

16.  cur  me  querellis  exanimas  tuis  (11  cases) 

17.  temptare  multa  eaede  bidentium  (10  cases) 

18.  quamquam  ehoreis  aptior  et  iocis  (10  cases) 

19.  favete  linguis:  carmina  non  prius  (10  cases) 

(2)  Horace  departed  from  his  Greek  models  by  putting  a 
long  syllable  almost  always  in  the  first  space^  and  always  in  the 
fifth  space.  See  Table  VII.=*  On  the  reading  of  III,  5,  17,  see 
Kiessling's  note. 

(3)  In  its  Greek  form  .1  was  without  a  fixed  caesura  or  diae- 
resis. But  in  the  Augustan  age  the  "derivation  theory"  of  me- 
ters held  sway  (see  Gleditsch,  Metrik,  pp.  70  and  73)  and  Horace, 
apparently  under  its  influence,  resolved  the  Eleven- Syllable  Al- 
caic into  two  phrases  of  sound,  each  constant  in  length.  This  he 
did  by  making  a  word  end  regularly  in  the  fifth  space.  See  Table 
I.  Only  five  exceptions  occur:  I,  37,  14;  IV,  14,  17;  I,  16,  21;  I, 
37,  5;  II,  17,  21;  and  in  three  of  these  (the  last  three  as  cited) 
the  regular  division  is  not  wholly  absent,  falling  as  it  does  be- 
tween the  members  of  a  compound  word.  He  admitted  syllahor 
anceps  in  the  final  space  of  A,  and  hiatus  occasionally  between  A 
and  A  or  between  A  and  B.    See  Table  V. 

(4)  Latin  quantitative  versification  is  based  on  a  number  of 
principles,  one  of  which  is  important  for  our  present  purpose; 

2  This  term  is  used  to  designate  any  part  of  a  verse  occupied  by  a  syl- 
lable, whether  long  or  short,  there  being  eleven  such  spaces  in  A. 
*  The  tables  are  to  be  found  at  the  close  of  this  paper. 


Vol.  1]  Richardson. — Horace's  Alcmc  Strophe. 


177 


namely,  in  the  initial  portion  (generally  two  or  more  feet)  of  a 
verse  rhetorical  elements  should  not  often  coincide  with  corre- 
sponding metrical  elements.  That  is  to  say,  coincidence,  when  it 
does  occur,  is  generally  preceded  or  followed  by  non-coincidence. 
And  so  it  happens,  among  other  things,  that  successive  words 
seldom  fill  each  a  single  foot ;  successive  word-accents  usually  do 
not  coincide  with  ictuses;  caesuras  on  the  average  outnumber 
diaereses.  These  facts  are  hinted  at  by  Quintilian  in  IX,  4,  90: 
plerique  enim  ex  commissuris  eorum  [i.e.,  verborum]  vel  divi- 
sione  fiunt  pedes;  ex  quo  fit  ut  isdem  verbis  alii  atque  alii  versus 
fiant.  The  principle  under  consideration  is  obeyed  in  the  first 
and  second  of  the  following  verses,  but  disobeyed  in  the  third  : 

virginibus  Tyriis  mos  est  gestare  pharetram.     (Verg.  Aen.  I,  336.) 

quaerere  constituit  soeiisque  exacta  referre.     (lb.  I,  309.) 

sparsis  hastis  longis  campus  splendet  et  horret.     (Ennius,  Varia  14.) 

Thus  we  have  an  important  clue  to  the  metrical  structure  of 
any  given  poem.  By  way  of  brief  illustration,  let  us  suppose  that 
we  are  trying  to  discover  the  meter  of  the  Aeneid.  The  initial 
portion  of  the  verses  is  composed  in  a  great  variety  of  ways,  but 
seldom  or  never  with  any  of  the  following  word-arrangements : 

denique  Caesare. 
priniae  terrae. 
denique  terrae. 
primo  Caesare. 

This  is  all  the  more  significant  because  such  groups  occur  often 
in  Latin  prose.  The  fact  is,  these  word-arrangements  are  not 
allowed  to  begin  the  verse  in  question  because  the  rhetorical  ele- 
ments would  each  exactly  coincide  with  corresponding  metrical 
elements  throughout  more  than  one  foot.  The  conclusion  is  there- 
fore to  be  drawn  that  the  feet  at  the  outset  of  Vergil's  verse  are 
either  dactyls  or  spondees  or  both  combined. 

We  may  reach  this  same  result  by  another  method  of  analysis. 
Within  the  initial  portion  of  the  verses  word-breaks  tend  to  occur 
at  certain  points  with  marked  frequency.  These  points,  accord- 
ing to  the  principle  above  described,  must  be  within  feet.  Other- 
wise expressed,  they  must  be  caesuras.  Knowing  where  the 
caesuras  are  located,  we  are  able  to  differentiate  them  from  diae- 
reses and  so  to  identify  the  feet. 


University  of  California  Publications.     [Class.  Phil. 

(5)   Verse  A  is  nowadays  often  divided  into  feet  a.s  follows: 
>:--!--  II ---I --I -A 

But  we  find  in  Horace  many  verses,  like 

O  inatre  piilehra  filia  pulchrior, 

where  there  would  be  an  overwhelming  correspondence  of  words 
and  feet.  Again,  according  to  the  theory  represented  in  this 
scheme,  a  trochee  would  end  with  the  third  space,  and  Vet  about 
half  the  verses  have  a  break  there ;  if  this  were  really  a  diaeresis, 
the  unity  and  flowing  character  of  the  verse  would  vanish.  By 
this  theory,  the  fundamental  foot  would  be  trisemic.  despite  the 
fact  that  most  of  the  feet  as  represented  have  syllables  that  are 
at  variance  with  such  a  norm.  Furthermore  the  line  would  begin 
with  anacrusis,  which  is  here  unsupported  by  any  genuine  evi- 
dence. In  short,  this  interpretation  of  Horace's  verse  rests  on  no 
direct  ancient  authority,  it  disregards  well  established  laws  of 
cpiantitative  verse  structure,  and  altogether  is  a  false  guide  for 
those  who  would  read  the  Alcaic  strophe  in  the  manner  intended 
by  the  Roman  poet. 

(6)  Ijet  us  now  regard  what  we  have  called  the  first  phrase  of 
verse  .4  and  analyse  it  according  to  the  method  outlined  in  section 

4  above. 

First  Space.    In  119  verses  this  space  is  occupied  by  a  mono- 

syllabh. 

Second  Space.    ( -  - )    In  291  verses  a  break  occurs  after  this 
space.    Among  these  cases  the  break  is  preceded  by : 

a     dissyllable    211  times 

j8    monosyllable  monosyllable 80  times 

Third  Space.    {^  -  -)    In  308  verses  a  break  occurs  after  this 
space.    Among  these  cases  the  break  is  preceded  by : 

a     trisylkible     199  times 

/3     monosyllable  dissyllable  67  times 

7     dissyllable  monosyllable  33  times 

5     three  monosyllables  9  times 

The  fact  that  Horace  allows  words  to  end  here  with  great  fre- 
quency is  significant.  It  implies  that  the  l)i'eak  after  the  third 
space  is  a  caesura.    This  and  the  sequence  of  quantities  involved 


Vol.  1] 


Richardson. — Horace's  Alcaic  Strophe. 


179 


point  to  iambic  movement  at  the  outset  of  A.  Significant  also 
are  the  difi:'erent  degrees  of  favor  represented  in  the  numbers  67 
and  33.  which  result  in  part  from  the  fact  that  an  iambic  move- 
ment is  thrown  into  less  bold  i-elief^  by  cases  under  p  than  by 
those  under  y. 

Fourth  Space.     (- )     In  53  verses  a  break  occurs  after 

this  space.    Among  these  cases  the  break  is  preceded  by : 

a  qnadrisyllable    4  times 

(i  trisyllable    monosyllable   22  times 

7  monosyllable    trisyllable   10  times 

5  dissyllable  dissyllable  3  times 

e  monosyllable  dissyllable  monosyllable  9  times 

f  monosyllable  monosyllable  dissyllable  5  times 

T]  (lissyllable  monosyllable  monosyllable  0  times 

$  four   moitosyllables    0  times 

The  cases  under  a  are  II,  17,  6 ;  III,  5,  10 ;  21,  10 ;  IV,  4,  69.  Two 
of  them,  at  least,  may  be  neglected:  in  III,  5,  10,  the  quadrisyl- 
lable exists  only  so  far  as  results  from  an  elided  pentasyllable; 
in  IV,  4,  69,  the  verse  begins  Carthagini  iam,  where  the  noun  and 
particle  are  closely  joined  and  the  effect  is  much  the  same  as 
though  the  fii-st  phrase  of  A  embraced  a  single  pentasyllabic 
word.  The  rarity  of  quadrisyllables  at  the  outset  of  verse  A, 
taken  in  connection  with  the  succession  of  quantities,  is  an  indi- 
cation of  iambic  movement.  Noteworthy  also  are  the  different 
degrees  of  favor  represented  in  the  numbers  22  and  10,  an  iambic 
movement  being  thrown  into  less  bold  relief  by  cases  under  p 
than  by  those  under  y.  The  unwelcome  character  of  the  cases 
under  8  is  made  evident  not  only  by  their  rarity  but  also  by  the 

*  An  iamb  is  thrown  into  relief  when  it  is  occupied  by  a  dissyllable,  or  by 
two  monosi/Uables;  a  diiamb  when  it  is  occupied  by: 

a  quadrisyllable. 

b  dissyllable  dissyllable. 

c  dissyllable  monosyllable  monosyllable. 

d  monosyllable  monosyllable  dissyllable. 

e  monosyllable  dissyllable  monosyllable. 

f  monosyllable  trisyllable. 

g  trisyllable  monosyllable. 

h  four  monosyllables. 

As  a  rule,  it  is  less  objectionable  to  throw  into  relief  the  anlaut  than  the 
auslaut  of  a  foot.  A  break  after  the  penultimate  syllable  of  the  foot  has  a 
tendency  to  render  less  objectionable  a  break  after  the  auslaut.  Conse- 
quently, c  and  e  are  less  objectionable  than  d;  and  g  less  objectionable 
than  f. 


I 


180 


University  of  California  Publications.    [Class.  Phil. 


way  they  are  disguised  when  they  do  occur.  In  III,  29,  5,  the 
first  of  the  pair  exists  only  so  far  as  results  from  an  elided  trisyl- 
lable. In  I,  16,  21,  the  pair  arises  from  two  elided  trisyllables. 
The  verse  has  no  break  after  the  fifth  space.  In  I,  37,  5,  the  first 
of  the  pair  arises  from  a  trisyllable  affected  by  synizesis.  This 
verse  also  omits  the  usual  break  after  the  fifth  space.  In  short, 
no  real  ease  of  two  dissyllabic  words  beginning  a  verse  is  found. 
This  is  strong  evidence  of  an  iambic  movement.  Pointing  in  the 
same  direction  is  the  fact  that  cases  under  c  outnumber  those 

under  C  and  r). 

Fifth  Space.     (-^- )     In  629  verses  a  break  occurs  after 

this  space.    Among  these  cases  the  break  is  preceded  by : 

a     pentcLHyllahle    21  times 

/3     quadrisyllable  monosyllable  4  times 

7     monosyllable  quadrisyllable  42  times 

S     trisyllable   dissyllable   176  times 

e    dissyllable  trisyllable    175  times 

f     trisyllable  monosyllable  monosyllable  20  times 

ly     monosyllable  trisyllable  monosyllable    10  times 

0    monosyllable  monosyllable  trisyllable    66  times 

t     dissyllable  dissyllable  monosyllable  1  time 

K    dissyllable  monosyllable  dissyllable  33  times 

X     monosyllable  dissyllable  dissyllable  58  times 

fi    dis,<iyllable  monosyllable  monosyllable  mo- 
nosyllable    0  times 

V     monosyllable  dissyllcible   monosyllable   mo- 
nosyllable    9  times 

J    monosyllable  monosyllable  dissyllable  mo- 
nosyllable    5  times 

o    monosyllable  monosyllable  monosyllable  dis- 
syllable    9  times 

ir    five  monosyllables    0  times 

That  verse  A  begins  with  iambic  meter  is  evidenced  by  the  char- 
acter of  the  monosyllables  falling  in  the  fifth  space.  Table  IV 
shows  49  such  cases.  The  resulting  break  after  the  fourth  space 
is  generally  bridged  over  and  softened  by  some  of  the  following 
usages:  (a)  In  twelve  cases  elision  takes  place,  being  located  as 
in  the  following  example : 

duke  et  decorwm  est  pro  patria  mori. 

(Ill,  2,  13.) 


Vol.  1] 


Richardson. — Horace*s  Alcaic  Strophe. 


181 


(b)  In  twenty-nine  eases  the  break  in  question  is  concealed  by 
another  break  after  the  third  space.  Thus  the  metrical  phrase 
closes  with  two  monosyllables.  One  of  them  is  not  infrequently 
a  proclitic  or  an  enclitic,  which  also  serves  to  lessen  the  promi- 
nence of  the  break  after  the  fourth  space,  as  in 

diicentis  ad  se  eimcta  pecuniae. 

(IV,  9,  38.) 

(c)  Only  a  few  cases  remain,  and  in  some  of  them  the  monosvl- 
lal)le  and  the  preceding  word  are  closely  knit  together,  as  in 

iamdudum  apud  me  est.  eripe  te  morae. 

(Ill,  29,  5.) 

Again,  significant  of  iambic  meter  is  the  fact  that  eases  under 
y  SO  greatly  outnumber  those  under  ^ ;  that  6  outnumbers  ^ ;  that 
^  outnumbers  -q :  that  A  outnumbers  k  ;  that  v  and  o  outnumber  t 
and  ^ ;  that  8  and  €  are  strongly  in  favor. 

If  the  first  phrase  of  A  (five  syllables)  is  compared  with  what 
precedes  the  main  caesura  in  the  iambic  trimeter  of  Horace's 
Epodes  (normally  five  syllables),  the  words  occurring  in  one  case 
will  be  found  to  accord  with  those  in  the  other  as  regards  their 
form,  length,  and  arrangement.  This  is  well  illustrated  by  Epode 
III,  where  the  word-arrangements  in  verses  free  from  substitu- 
tions are  typically : 

--I 

-l-l 

(7)  The  following  points  are  to  be  noted  for  the  light  they 
throw  on  the  nature  of  the  rhythm  in  the  second  phrase  of  A : 

(a)  Breaks  within  the  phrase  occur  freely  after  the  sixth, 
seventh,  eighth,  and  ninth  spaces,  most  freely,  however,  after  the 
eighth.     (Table  I.) 

(b)  The  favorite  combinations  of  words  within  the  phrase 
are,  in  order  of  preference,  as  follows : 


University  of  California  Fuhlicationa.     r^i-^s^-^""- 


tntiyllable  trisyllable,  • 
m onosylltt h le  t risyllable  d insyllab le, 
monosyllable  <lissyllable  trisyllable, 
q  Hadriftylla b le  dissyllable, 
disylluble  qumlrisyllable. 

(Table  III.) 

((')  Monosvllables  are  abimdant  in  the  sixth  space  alone. 
Only  seven  times  does  a  verse  end  with  a  ni()nosyllHl)le  and  in 
six  of  these  eases  the  elTeet  is  veiled.  That  is  to  say.  in  II.  11,  13, 
the  monosyllable  is  preceded  by  anotlier  monosyllable,  as  some- 
times occurs  at  the  close  of  the  dactylic  hexameter  or  pentameter. 
In  I,  9.  13 ;  II,  15,  5 :  IIL  26,  9 ;  29,  9 ;  and  49  there  is  elision.  But 
in  IV,  9,  1,  the  monosyllable  stands  out  boldly  after  a  pentasyl- 
lable, an  effect  that  is  probably  intended  to  reinforce  the  strikin^^ 
character  of  the  thouj?ht. 

(d)   Dissyllables  end  freely  in  the  seventh  or  eleventh  space. 

{(')   Trisyllables  end  freely  in  the  eighth,  or  eleventh  space. 

(/■)   Quadrisyllables  end  freely  in  the  ninth  or  eleventh  space. 

(g)  IVntasyllables  and  hexasyllables  occur  occasionally  at  the 
close  of  the  verse. 

The  conclusion  to  be  drawn  from  this  evidence  is  as  follows: 
The  poet's  feeling'  has  not  led  him  to  treat  the  second  phrase  in 
the  same  manner  as  he  did  the  first.  He  has  not  here  studiously 
avoided  the  coincident  termination  of  word  and  foot,  since  breaks 
occur  freely  at  all  points,  except  after  the  tenth  space,  an  excep- 
tion due  to  the  fact  that  monosyllables  are  not  welcome  in  final 
position. 

(8)  We  are  now  in  a  position  to  make  out  the  meter  of  the 
whole  verse.  As  regards  the  first  phrase,  it  has  been  show^n  that 
words  are  frequently  chosen  and  arranged  according  to  the  fol- 
lowing divisions : 


We  rarely  find 


— 1__ 
--I  — 

1- 

Vol.  1]  Eichardson. — Horace's  Alcaic  Strophe, 


183 


The  meter,  therefore,  is  iambic  in  character.     But  what  is  the 
particular  form  of  the  feet  ?    Do  the  first  four  syllables  constitute 
two  iambs  or  one  diianib?    If  these  syllables  appeared  character- 
istically as  ------  there  would  l)e  ground  for  recognizing  two 

iambs,  but  as  a  matter  of  fact  the>  are  normally  —  -  -  (only 
nineteen  verses  begin  —  -  -)  and  the  conclusion  is  inevitable 
that  A  begins  with  a  diiamb. 

A  verse  by  its  very  nature  has  unity,  which  implies  that  it 
embraces  homogeneous  elements.  Therefore,  since  the  first  phrase 
of  A  contains  a  diiamb  plus  one  syllable,  it  is  probable  that  this 
syllable  introduces  a  second  metrical  division,  not  necessarily 
identical  with  the  first,  but  similar  in  kind  and  conuuensurate  in 
duration.  Keeping  in  mind  that  a  diiamb  is  quadrisyllabic  and 
in  effect  hexasemic,  we  find  that  a  foot  having  these  two  prop- 
erties is  made  up  by  the  syllables  in  the  fifth,  sixth,  seventh,  and 
eighth  spaces.  Moreover,  it  assumes  the  form  of  a  foot  to  which 
ancient  writers  on  metric  frequently  refer,  namely,  a  major  ionic 
( ). 

Three  syllables  remain,  long  short  long,  respectively,  and  they 
in  turn  answer  the  conditions  of  a  quadrisyllabic  hexasemic  foot, 
one,  however,  that  has  been  modified  by  catalexis  in  the  final 
cadence  of  the  verse.  In  acatalectic  form  this  foot  would  appar- 
ently be  a  ditrochee,  as  may  be  gathered  from  the  Twelve-Syllable 
Alcaic  cited  by  Hephaestion  {Ench.,  XIV,  4.  C.)  : 

IottXok  ^  dyva,  /xcAAt^o/w-ctSe  ^air^ol. 

With  this  verse  (=  Alcaeus  fr.  34)  compare: 

OfXio  Ti  fciirqv^  aXXa  fie  kwAvci  aiScos.      Alcaeus  fr.  19. 
KOiXwi/v'xwv  iTnrwv  Trpvraviq  [Iloo-ctSav]  .      Stesichorus  fr.  21. 

Verse  A,  then,  may  be  classed  as  an  Epionic  Trimeter  Catalectic 
and  is  to  be  represented  thus : 


a  reader  being  always  at  liberty  to  treat  the  last  foot  as  -  -  -    ,. 
This  conclusion  is  not  only  supported  by  ancient  authority,'^ 

^Hephaestion  {Ench.  XIV,  3.  C.)  describes  A  in  its  Greek  form  as  follows: 

Eiriwi/i/cdi'  5^  dxb  fiel^ovos  rpifierpov    KaraXriKTiKdp    iari^    rd    KaXoOfievov    'AXKaiKbv 

iv5€Ka<rO\\a^v,     6    rijv    fiJtv   irpdrryiv  (Tv^vylav    Ix"    la/x^iK'^v^     ijroi    i^dffrjfwv    ij 

hrrdarifiov^    rijv    di    Scirr^pav   Iuviktjv   drb   fiei^ovos   ^    bevripav   vauaviKi^v,    tt)v    5k 

xard/cXetSa  iK   rpoxo-^ov    Kal    ttjs    ddia<p6pov. 


184  University  of  California  Publications.    [Class.  Phil. 

but  corroborated  by  niniieroiis  parallels  in  allied  verse  forms;  for 

example,  the  initial  motive" ---^is  found  in  Pindar, 

Xemea,  1,  str.  2  and  4 ;  V,  str.  5 ;  Isfh.,  I,  str.  5 ;  VI,  str.  1 ;  fr.  29, 
1;  fr.  122,  1;  fr.  124^  1;  Bacchylides,  VIII,  ep.  1 ;  XI,  1  and  8; 
XIV,  ep.  1 ;  €t  passim .  The  final  motive ' ^  -  is  also  abun- 
dant; see  for  example  Christ,  Metrik,  section  627.  This  motive 
in  acatalectic  form  is  fcmnd  in  Sappho,  fr.  50;  Pindar,  fr.  75.  4; 
Eurip.,  Medea,  151-3;  and  elsewhere. 

B.     THE  NINE-SYLLABLE  ALCAIC. 

(1)  There  are  256  possible  ways  of  arran^'in^  words  in  a  verse 
of  nine  syllables.  In  this  Alcaic,  however,  Horace  employed  only 
48,  confining  himself  as  a  rule  to  the  10  following: 

1.  eantemus  Aiigiisti  tropaea  (60  cases) 

2.  rugis  et  instanti  senectae  (26  cases) 

3.  ciii  laiiriis  aeternos  honores  (26  cases) 

4.  redegit  in  veros  timores  (21  cases) 

5.  oblitus  aeternaeque  Vestae  (20  cases) 

6.  quantis  fatigaret  minis  (17  cases) 

7.  excepit  ictus  pro  pudicis  (15  cases) 

8.  non  Seres  infidive  Persae  (13  cases) 

9.  sortitur  insignis  et  imos    (12  cases) 

10.     sumptii  iubentes  et  deorum  (  8  cases) 

(2)  The  metrical  character  of  this  verse  is  revealed  in  what 
follow^s: 

First  Space.  In  84  verses  the  initial  w^ord  is  a  monosyllable. 
Horace  departed  from  his  Greek  models  by  putting  a  long  syl- 
lable almost  always  in  this  space.    See  Table  VII. 

Second  Space.  (^  -)  In  83  verses  a  break  occurs  after  this 
space.    Among  these  cases  the  break  is  preceded  by : 

a     dissyllable    75  times 

/3     monosf/llable  monosifllnble  8  times 

Third  Space.  (=^  -  -)  In  259  verses  a  break  occurs  after 
this  space.    Among  these  cases  the  break  is  preceded  by : 

a     trisyllable     155  times 

/3     monosyllable  dissyllable  65  times 

7  dissyllable  monosyllable  35  times 

8  three  monosyllables 4  times 

•  This  term  motive  is  used  to  designate  any  dcminant  metrical  design  or 
■equence. 


Vol.  1]  Richardson.— Horace's  Alcaic  Strophe.  185 

Evidences  of  iambic  movement  are  seen  in  the  sequence  of 
quantities,  the  great  frequency  of  breaks  after  the  third  space, 
the  frequency  of  trisyllables  as  shown  in  a,  and  the  fact  that  ^ 
outnumbers  y. 

Fourth  Space.  (^  -  ^ -)  in  51  verses  a  break  occurs  after 
this  space.    Among  these  cases  the  break  is  preceded  by : 

a  quadrisyllable    q  times 

^  trisyllable   monosyllable   34  times 

7  monosyllable   trisyllable   2  times 

5  dissyllable  dissyllable   0  times 

€  monihsyllable  dissyllable  monosyllable  13  times 

f  monosyllable  monosyllable  dissyllable  0  times 

17  dissyllable  monosyllable  inojiosylkible  2  times 

0  four  monosyllables    q  times 

Evidences  of  iambic  movement  are  seen  in  the  sequence  of 
quantities,  the  infrequency  of  breaks  after  the  fourth  space,  the 
facts  under  a  and  8,  the  way  jS  outnumbers  y,  and  the  way  c  out- 
numbers C 

Fifth  Space.  (-  -  ^  -  -)  i„  52  verses  a  break  occurs  after 
this  space.    Among  these  cases  the  break  is  preceded  by : 

a     pentasyllable    3  times 

/8     monosyllable  quadrisyllable  5  times 

7     quadrisyllable  monosyllable  0  times 

5     trisyllable   dissyllable    23  times 

t    dissyllable   trisyllable   12  times 

f     monosyllable  monosyllable  trisyllable  1  time 

77     trisyllable  monosyllable  monosyllable  0  times 

0    monosyllable  trisyllable  monosyllable  1  time 

t     monosyllable  dissyllable  dissyllable  5  times 

K     dissyllable  monosyllable  dissyllable  1  time 

X     dissyllable  dissyllable  monosyllable  0  times 

fit    dissyllable   monosyllable   monosyllable   mo- 
nosyllable    0  times 

y     monosyllable   dissyllable   monosyllable   mo- 
nosyllable    0  times 

{     monosyllable  monosyllable   dissyllable   mo- 
nosyllable    0  times 

o     monosyllable  monosyllable  monosyllable  dis- 

•'^2/'«*'«    1  time 

IT     five   monosyllables   q  times 

Evidences  of  iambic  movement  are  seen  in  a  comparison  of  p 
and  y,  of  «  and  c,  and  of  i,  k,  and  A.    The  relatively  small  number 


186 


University  of  Calif omia  Publications.    [Class.  Phil. 


of  breaks  after  the  fifth  space  makes  it  clear  that  this  verse  is  not 
divided  into  set  phrases  of  sound.  Thus  B,  though  beginning 
with  the  same  quantities  as  ^,  has  a  different  opening  cadence. 
Kiessling  pointed  out  that  when  a  word  ends  in  the  fifth  space, 
the  effect  of  the  break  is  generally  subdued  by  the  presence  of  a 
monosyllable  in  the  sixth  space.  This  feature  affords  a  good  ex- 
ample of  the  way  Horace's  art  underwent  change.  In  Book  I 
four  verses  have  a  word  ending  in  the  fifth  space  without  a  fol- 
lowing monosyllable  (16,  3;  26,  7;  29,  11;  35,  11).  In  Book  II 
there  are  seven  such  verses  (1,  11 ;  3,  3 ;  13,  27 ;  14,  11 ;  19,  7 ;  19, 
11;  19,  19).  In  Books  III  and  IV  they  disappear  altogether. 
Since  words  seldom  end  in  the  fourth  or  fifth  space,  a  monosyl- 
lable is  not  likely  to  occur  often  in  the  fifth  space.  Only  one 
example  is  found,  namely  et  in  II,  3,  27,  and  this  is  neutralized 
by  elision.  Owing  to  the  general  avoidance  of  words  ending  in 
the  fifth  space,  only  two  verses  end  with  a  quadrisyllable  (II,  3, 
3;  19,  19)  and  only  eight  end  with  two  dissyllables  (I,  16,  3 ;  26, 
7 ;  29,  11 ;  II,  1,  11 ;  13,  27 ;  14,  11 ;  19,  7 ;  19,  11).  It  is  an  inter- 
esting fact,  as  Mr.  Page  points  out,  that  in  six  of  these  cases  the 
first  dissyllable  of  the  pair  is  repeated  at  the  outset  of  the  suc- 
ceeding verse.    For  example : 


Alcaee,  plectro  dura  navis, 
dura  fugae  mala,  dura  belli. 


(II,  13,  27-28.) 


Horace  departed  from  his  Greek  models  by  putting  invariably 
a  long  syllable  in  the  fifth  space. 

Sixth  Space.      (^  - )      In  251  verses  a  break  occurs 

after  this  space,  a  mark  of  iambic  movement,  for  toward  the  close 
of  such  a  verse  the  usages  of  diaeresis  and  caesura  undergo  a 
change,  breaks  after  the  even  syllables  becoming  numerous. 

The  favorite  combinations  of  words  at  the  close  of  a  verse  are, 
in  order  of  preference : 

trisyllahle  trisyllable ^ 
monosyllab le  dissyllab  le, 
monosyllable  trisyllable. 

(Table  III.) 


VoL.1]  Richardson.— Horace's  Alcaic  Strophe. 


187 


Words  of  more  than  three  syllables  occurring  in  this  verse  are 
interesting  as  regards  both  their  rarity  and  their  position.  Only 
one  hexasyllable  occurs  and  that  ends  in  the  seventh  space. 
Among  11  pentasyllables,  3  end  in  the  fifth  space,  3  in  the  sixth," 
and  5  in  the  seventh.  Among  69  quadrisyllables,  5  end  in  the 
fifth  space,  26  in  the  sixth,  36  in  the  seventh,  and  2  in  the  ninth. 
Thus  these  polysyllables  tend  to  occur  in  the  middle  of  the  verse. 
(3)  By  a  process  of  reasoning  similar  to  that  followed  on 
p.  177  ff.,  it  appears  that  Horace  felt  the  rhythm  of  the  first  four 
syllables  as  a  foot  in  the  shape  of  a  diiamb.  Especially  signifi- 
cant is  the  fact  that  not  a  single  verse  has  a  word  ending  in  the 
fourth  space  unless  it  be  a  monosyllable  or  trisyllable.  The  next 
four  syllables  also  conform  to  a  diiamb. 

This  foot,  it  should  be  remembered,  occurs  in  Alcaeus  and 

Sappho  both  as and  ^ .     The   extreme   rarity  of 

the  latter  form  in  Horace's  alcaic  strophe  may  be  due  to  the 
abiiiidance  of  long  .syllables  in  Latin,  to  the  fact  that  this  form 
by  itself  is  metrically  ambiguous,  being  either  a  quadrisyllabic 
foot  or  two  dissyllabic  feet,  and  to  the  fact  that  the  gravitas  Ro- 
mana  with  which  Horace  invested  his  Odes  is  better  served  by  the 
form  of  the  diiamb  containing  three  long  syllables.  In  reading 
the  foot  -  -  ^  -  it  does  not  stand  to  reason  that  the  ancients 
consciously  shortened  the  initial  syllable.  Any  positive  reduction 
in  length  at  this  point  would  often  confuse  the  sense.  For  ex- 
ample, shortening  the  initial  syllable  of  canes  (Hhou  art  hoary'), 
which  might  conceivably  be  the  word  concerned,  would  result  in 
canes  ('dogs').  The  same  applies  to  scores  of  words  subject  to  a 
similar  change  of  meaning,  should  the  first  syllable  be  shortened. 

The  fact  that ^  -  is  in  effect  a  hexasemic  foot  is  rather  to 

be  explained  on  other  grounds.  To  be  sure,  this  diiamb,  when 
exactly  measured,  seems  to  be  overlong  to  the  extent  of  a  nwra; 
but  since  the  overlength  is  in  the  first  syllable  of  the  foot,  and 
since  the  compass  of  the  foot  is  large,  the  excess  is  neither  enough 
nor  in  a  position  to  unbalance  the  rhythm.  Compare  in  this  con- 
nection the  ditrochee,  which  is  also  hexasemic  in  effect  and  fre- 
quently has  three  long  syllables  (- ) ,  thus  being  overlong 

in  the  last  syllable  of  the  foot. 


I 

II 

! 


lob 


University  of  California  Publications.     [Class.  Phil. 


The  final  syllable  of  this  verse  remains  to  be  accounted  for. 
According  to  some  scholars  (Masqiieray:  Metrique,  section  276, 
Gleditsch:  section  150,  3),  B  and  C  of  the  Greek  Alcaic  strophe 
are  held  to  be  in  effect  one  long  verse.  However  that  may  be, 
Horace  certainly  felt  B  and  C  as  separate  verses,  as  is  shown  by 
the  fact  that  he  admitted  sijllaba  anceps  at  the  close  of  B,  as  well 
as  interverse  hiatus  between  B  and  C  (Table  V).  According  to 
O.  Schroeder  {Berl  Philol.  Wockenschr.,  1904,  Nr.  51),  B  is  an 
iambic  pentapody  (Funfheher),  the  final  syllable  representing  an 

laniii. 

The  conclusions  reached  in  this  paper  support  the  view  held 
by  Kiessling  and  many  othere,  namely,  that  B  is  hypercatalectic. 
The  transition  from  the  ascending  rhythm  of  this  verse  to  the 
descending  rhythm  of  C  is  facilitated  by  the  extra  syllable,  just 
as  is  the  case  in  the  following  examples : 

---',-  Bacchyl.  VII,  b.  14-15.     Cf.  XI,  2-3. 

_^__l_^.  «         XII,  8tr.  2-4.     Cf.  ep.  3-4. 

^^  -■mm''  ^^      -rngfH' 

----  y----  r-  n         XVIII,  str.  1-2. 


^        XIII,  ep.  6-7. 


«         VIII,  str.  8-9.     Cf.  ep.  3-4. 


Especially  significant  are  the  following : 


Bacchyl.  XIV,  str.  3-5. 

Cf.  Pindar,  fr.  124',  1-2;  fr.  126,  1-2. 

Bacchyl.  XIV,  ep.  1-3. 
Cf.  Pindar,  fr.  122,  1-3. 


In  the  last  example  line  1  nearly  equals  A,  line  2  equals  B,  line  3 
is  like  C  in  having  a  descending  rhythm  part  of  which  is  trochaic. 
It  seems  fair  to  say  that  line  2  (which  equals  B)  is  an  Iambic 
Dimeter  Hypercatalectic  (not  a  pentapody),  since  the  next  to  the 


I;-! 


Vol.  1]  Richardson. — Horace's  Alcaic  Strophe. 


189 


last  example  clearly  shows  that  a  dimeter  may  legitimately  occur 
in  this  metrical  context. 

Verse  B,  then,  may  be  classed  as  an  Iambic  Dimeter  Hyperca- 
talectic and  is  to  be  represented  thus : 

~  ""'  ~"  I         ^  —  ^ 
C.     THE  TEN-SYLLABLE  ALCAIC. 

(1)  There  are  512  possible  ways  of  arranging  words  in  a 
verse  of  ten  syllables.  In  this  Alcaic  the  poet  employed  but  51, 
confining  himself  as  a  rule  to  the  10  following : 

1.  egit  eqiios  volucremqne  enrnim  (49  eases) 

2.  (livitiis  potit^tur  heres  (36  cases) 

3.  vis  rai)uit  ra{)ietque  gentis  (33  cases) 

4.  {Hirpiireo  variiis  colore  (27  cases) 

5.  levia  personiiere  saxa  (18  cases) 

6.  Pegasus  expediet  Chimaera  (16  cases) 

7.  fronde  nova  puerum  palumbes  (13  cases) 

8.  Deliiis  et  Patareus  Apollo  (13  cases) 

9.  poniifero  grave  tempus  anno  (13  cases) 

10.  in  doniini  caput  inmerentis  (11  cases) 

(2)  The  metrical  character  of  this  verse  is  revealed  in  the 
following  analysis : 

First  Space.  In  69  verses  this  space  is  occupied  by  a  mono- 
syllable. 

Second  Space.  (-  -)  In  101  verses  a  break  occurs  after 
this  space.    Among  these  cases  the  break  is  preceded  by : 

o     dis.syllable    99  times 

/8     monosyllable  monosyllable  2  times 

Third  Space.  (-----)  In  79  verses  a  break  occurs  after 
this  space.    Among  these  cases  the  break  is  preceded  by : 

a  trisyllable     60  times 

^  monosyllable  dissyllable  9  times  * 

7  dissyllable  monosyllable  10  times 

d  three  monosyllables  ....: 0  times 

Dactylic  meter  is  here  suggested,  for  an  initial  trisyllable 
occurs  less  frequently  than  an  initial  dissyllable  (99  cases)  (com- 
pare A  and  B).  and  /3  and  y  enjoy  virtually  equal  favor  (com- 
pare A  and  B). 


II 


1,1 


190  University  of  California  Puhlimtions.    [Cl^ss.  Phil. 

Fourth   Space.      ( )      lu   252  verses  a   break  occurs 

after  this  space.    It  is  preceded  by : 

a     quadrisyllable    ^'  *""^^ 

/}    dissyllable  dissyllable  81  times 

7     monosyllable   trisyllable   55  times 

S     trisyllable   monosyllable 20  times 

e     other  combinations    ^  **™®® 

The  unequal  favor  enjoyed  by  y  and  8  points  to  dactylic  njeter. 

Fifth  Space.     {- )     In  14  verses  a  break  occurs  after 

this  space  It  is  preceded  by  trisyllabic  dissyllable  four  times. 
A  break  after  the  fifth  space  falls  between  two  short  syllables  and 
is  so  situated  in  the  verse  as  to  produce  a  weak  effect,  which  seems 
to  account  for  its  infrequency. 

Sixth  Space.      ( )      In  -y^  verses  a  break  occurs 

after  this  space.  It  is  never  preceded  by  hcxasyllahle,  and  by 
tnsyllahlv  trisyllable  but  once,  namely,  in  IV,  4,  72,  where  the 
second  trisyllable  exists  only  so  far  as  arises  from  an  elided  quad- 
risyllable.   This  is  stron^^  evidence  of  dactylic  meter. 

Seventh  Space.  ( — '--)  In  112  verses  a  break  occurs  after 

this  space.  It  is  never  preceded  by  either  trisyllable  trisyllable 
rnonosyllahle  or  hexasyllablc  monosyllable,  which  points  to  dac- 
tylic meter.  The  general  conclusion  to  be  drawn  from  the  fore- 
c.^oin*r  points  is  that  Horace  felt  the  first  six  syllables  of  C  as  two 
dactylic  feet.  Since  words  are  seldom  allowed  to  end  in  the  fifth 
or  sixth  space,  polysyllables  are  barred,  as  a  rule,  from  bejrinnin^ 
in  the  sixth  or  seventh  space  and,  therefore,  tend  to  gravitate  to 
the  initial  or  middle  parts  of  the  verse. 

The  usual  combinations  of  words  at  the  close  of  the  verse  are, 

in  order  of  preference : 

quadrisyllable  dissyllable, 

trisyllable  trisyllable, 

dissyllable  dissyllable, 

quadrisyllable  trisyllahle.  (Table  III.) 

(3)  We  are  now  in  a  pasition  to  identify  the  meter  through- 
out the  whole  verse.  Hephaestion  (quoted  by  Gleditsch,  p.  173 
ff.)  applies  the  term  logaoedic  to  dactylic  or  anapaestic  verses  in 
whose  initial  or  final  parts  (or  both)  the  arses  consist,  not  of  pairs 
of  short  syllables,  but  of  single  short  ones.    He  cites  C  as  an  ex- 


VOL.  1] 


Richardson. — Horace's  Alcaic  Strophe. 


191 


ample  {Euch.,  VII,  8,  C).  By  reading  the  dactylic  dipody  with 
a  more  rapid  tempo  than  is  given  the  final  ditrochee  the  time 
relations  of  the  verse  are  as  a  whole  kept  true  (see  Westphal: 
Ally.  Metrik  d.  Gr.,  Ill,  1,  p.  366;  Masqueray:  p.  328;  Gleditsch: 
section  142).  Compare  in  this  connection  the  substituted  ana- 
pae.sts  and  dactyls  in  Horace's  Epodes;  these  feet,  which  are  ordi- 
narily tetrasemic,  are  there  given  trisemic  values.  Further  light 
is  thrown  on  the  metrical  structure  of  C  by  the  following  verses, 
some  of  which  are  logaoedic  and  some  trochaic : 


{::-• 


y    _3>^I3ir 


Hybrias  {Anth.   Lyr.   p. 
275). 

Bacchyl.  fr.  20,  str.   2; 
cf.  XV,  str.  4. 

Simonides,  fr.  57. 

Aristoteles,  fr.  5,  15. 

Simonides,  fr.  30. 

Praxilla,  fr.  5;  cf. 
Bacchyl.  XV,  str.  5. 


Alcman,  fr.  5,  str.  9-14. 


Here  - ^  ^  and  -  ^  seem  to  be  made  equivalent  in  time  value. 
This  is  especially  evident  in  the  alternative  forms  of  the  same 
verse  (included  within  braces).  Examples  a-y  end  somewhat  like 
C,  8-^  quite  in  its  manner.  A  line  having  the  exact  form  of  C 
concludes  three  of  the  strophes  in  Alcman,  fr.  5 ;  it  occurs  also  in 
Ibyeus,  frr.  1,  9 ;  8c,  1 ;  8e,  1 ;  13,  4 ;  15,  2 ;  Bacchyl.,  IV,  str.  6 ;  and 
eighteen  passages  of  Greek  dramatic  poetry  cited  by  W.  Christ : 
Grundfragen  der  m^lischen  Metrik  der  Griechsn,  Abhandl.  der 
Akad.  der  Wissensch.,  Philos.-philol.  CI.,  Munchen,  1902,  270f. 
It  is  found  to  follow  iambic  and  other  kinds  of  verses ;  not  infre- 
quently it  is  used  to  conclude  a  strophe.  Since  strophes  having 
a  distinct  kind  of  verse  as  clausula  are  abundant,  nothing  stands 
in  the  way  of  our  taking  0  as  a  logaoedic  verse  in  the  shape  of  a 


\i 


192 


Universittj  of  California  Publications.    [Class.  Phil. 


dactylie  dipody  followed  by  a  ditrochee.     It  may  be  termed  a 
Dactylotroehaie  Dimeter/  being  represented  thus: 

*»<  ^^  ^  1 

THE  STROPHE  AS  A  WHOLE. 

The  poet's  feelinjr  for  the  strophe  as  a  whole  is  reflected  in 

the  following  points : 

(1)  Elision  occurs  69  times  in  the  first  verse  of  the  strophe, 
59  times  in  the  second,  38  times  in  the  third,  and  31  times  in  the 
final  verse.    Interverse  elision  occurs  twice  (II,  3,  27-28;  III,  29, 

Ot)-OU  )  . 

(2)  Since  interverse  hiatus  works  against  the  unity  and  even 
flow  of  the  strophe,  we  should  expect  to  find  it  occurring  less  and 
less  often  as  Horace 's  art  develops.  Such  turns  out  to  be  the  fact, 
as  appears  in  Table  V. 

(3)  Sense-pauses  are  numerous  within  the  first  vei^e  of  the 
strophe,  still  more  so  in  the  second,  infrequent  in  the  third,  and 
rare  in  the  fourth.  The  majority  are  not  coincident  with  the 
main  rhythmical  pauses,  the  sense  being  made  to  run  on  from 
verse  to  verse,  and  strophe  to  strophe. 

(4)  Long  words  tend  to  occur  in  the  latter  part  of  ^1,  but  in 
the  middle  of  B  and  of  C.  Furthermore,  as  regards  word-lengths 
and  combinations  of  words,  Tables  II  and  III  show  that  (1)  each 
verse  has  different  habits  of  beginning  and  ending  (the  extremes 
of  B,  however,  do  not  differ  greatly) ;  (2)  A  has  characteristic 
ways  of  beginning,  B  has  others,  C  still  others;  (3)  much  the 
same  may  be  said  of  their  closing,  the  final  effects  of  the  clausula, 
however,  being  especially  well  differentiated  from  those  of  the 

other  verses. 

(5)  We  may  here  consider  the  question  whether  the  Alcaic 
strophe  of  Book  IV  differs  materially  from  that  of  Horace  ^s 
earlier  work.  A  comparison  shows  results  somewhat  as  follows : 
Type  1,  as  recorded  on  p.  176,  occurs  in  Book  IV  ten  times,  type 
2  eleven  times,  type  3  once,  type  4  not  at  all,  type  5  twice,  type  6 
once,  type  7  «ix  times.    In  short,  it  turns  out  that  certain  forms 

^Justification  for  bringing  two  dactyls  within  one  meter  is  found  in 
Gleditsch:  section  65,  1,  fin. 


Vol.  1] 


Richardson. — Horace's  Alcaic  Strophe. 


193 


of  verse  abundantly  represented  in  Books  I-III  are  relatively 
much  less  frequent  in  Book  IV,  and  vice  versa,  the  general  result 
being  that  in  the  poet's  later  work  the  range  of  lyric  effects  is 
somewhat  narrower.  The  bold  and  exceptional  features  of  the 
strophe,  cited  passim  in  the  foregoing  pages,  point  to  the  same 
conclusion,  since  they  are  in  large  measure  confined  to  Books 
I-III.  Light  is  sometimes  thrown  on  the  date  of  an  Ode's  compo- 
sition by  tests  along  these  lines. 

(6)  The  location  of  the  ictus  is  a  matter  not  so  easily  deter- 
mined as  the  form  of  the  feet.  However,  we  seem  to  be  war- 
ranted in  holding  that  an  ictus  belonged  to  each  foot,  and  that  if 
it  belonged  to  the  first  half  of  a  given  foot,  it  belonged  to  the  same 
half  of  all  the  feet  alike.  An  ictus  hardly  belonged  to  the  final 
two  syllables  of  the  major  ionic  (--^-)  or  the  dactylic  dipody 
(______)_  This  leads  one  to  infer  that  in  each  foot  the  ictus  be- 
longed to  the  first  half.  The  interpretation  of  the  Seikilos  in- 
scription and  Anonymus  Bellermannius,  section  85,  given  by  F. 
Blass  {Hermes,  35  [1900],  342;  Neiw  Jahrb.  Mass.  Altertum,  3 
[1899] ,  42)  points  to  the  first  half  of  a  diiamb  as  the  place  of  the 
ictus. 

(7)  The  strophe  as  a  whole  may  be  represented,  from  the 
standpoint  of  reading,  thus: 


A 
A 
B 
C 


»-^   ==    A 


_._X__.X,^-A 


*^'   _i_ 


194 


University  of  California  Publications.    [Class.  Phil. 


TABLE  1. 

The  number  of  times  that  a  word  ends  at  any  given  point  in 
the  strophe  is  shown  in  the  following  table.  For  example,  among 
the  634  verses  included  under  .4,  199  begin  with  a  monasyllable, 
291  are  so  composed  that  a  word  ends  with  the  second  space,  308 
with  the  third  space,  and  so  on. 


A... 

B... 
C... 


1st 

spatw 

199 

84 
69 


2nd 
space 

291 

83 

101 


3rd 
space 

308 

259 

79 


4th 
space 

53 

51 

252 


5th 
space 

629 

52 

14 


6th 
space 

202 
251 


52 


7th 
space 

144 

102 

112 


8th 
Rpiie« 

346 

10 
199 


9th 
space 

242 

317 

0 


10th       11th 
space     space 

7       634 


317 


Elided  syllables  are  neglected,  sententia,  for  example,  with  a  elided, 
being  counted  as  a  trisyllable.  The  enclitics  -que,  -ve,  -ne  are  not  treated  as 
separate  words,  inversique  being  counted  as  a  quadrisyllable.  Other  enclitics 
and  proclitics  appear  separately  in  the  tables,  owing  to  the  difficulty  of  estab- 
lishing a  clear  line  of  demarcation  between  these  words  and  those  that  are 
really  independent.  But  in  drawing  inferences  concerning  metrical  structure 
the  character  of  the  words  involved  has,  wherever  possible,  been  taken  into 

account. 

The  Kiessling  text  of  Horace  (edition  of  1890)  is  the  basis  of  these  in- 
vestigations. Pindar  is  cited  according  to  the  edition  of  Schroeder  1900, 
Baechylides  according  to  the  edition  of  Blass  1905,  other  Greek  lyric  poets 
according  to  the  Hiller-Crusius  edition  of  Bergk's  Anthologm  Lyrica  1901. 


Vol.  1] 


Richardson. — Horace's  Alcaic  Strophe. 


195 


TABLE  II. 


Summary  of  word-lengths  at  the  beginning  of  all  four  verses. 


1 

2 
3 

4 
5 
6 
7 

8 

9 
10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 
24 
25 
26 
27' 
28 

29 


In  A 
80 
67 
10 
42 
0 
0 

33 
3 
175 
0 
0 
0 
22 
176 
1 
0 
0 
4 
0 
0 
0 
0 
0 
9 
6 
3 
2 
0 
1 


InB 

8 
65 

9 


5 


3 
1 

35 
0 
12 
23 
5 
0 
34 
23 
77 
21 
0 
0 
0 
0 
0 
0 
0 
2 
1 
0 
0 
0 
0 


InC 

2 

9 
55 

2 

0 

1 
10 
81 

1 

0 

4 

3 
20 

4 

1 

17 
18 

3 
17 
29 
36 


9 

id 


0 
2 
0 
0 
0 
0 


verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 
verses  begin 


*  monosyllable  monosyllable. ' 

*  monosyllable  dissyllable. ' 

*  monosyllable  trisyllable. ' 

'  monosyllable  quadrisyllable. ' 
'■  monosyllable  pentasyllable. ' 

*  monosyllable  hexasyllable. ' 
'  dissyllable  monosyllable. ' 

*  dissyllable  dissyllable. ' 

*  dissyllable  trisyllable. ' 

'  dissyllable  quadrisyllable. ' 

*  dissyllable  pentasyllable. ' 
'■  dissyllable  hexasyllable. ' 

'  trisyllable  monosyllable. ' 
'  trisyllable  dissyllable. ' 
'  trisyllable  trisyllable. ' 
'  trisyllable  quadrisyllable. ' 
'  trisyllable  pentasyllable. ' 

*  quadrisyllable  monosyllable. ' 
'  quadrisyllable  dissyllable. ' 

'  quadrisyllable  trisyllable. ' 

*  quadrisyllable  quadrisyllable. ' 
'  quadrisyllable  pentasyllable. ' 

*  quadrisyllable  hexasyllable. ' 

*  pentasyllable  monosyllable. ' 
'  pentasyllable  dissyllable. ' 

*  pentasyllable  trisyllable. ' 

*  pentasyllable  quadrisyllable. ' 
'  pentasyllable  pentasyllable. ' 

*  pentasyllable  hexasyllable. ' 


634       317       317 


196 


University  of  California  Publications.    [<^ass.  Phil. 


II 


TABLE  III. 

Simimary  of  word-lengths  in  the  (•oiicluding  portions  of  all 
four  veraes. 


'monosyllable  monosyllable.'  . 
'  monosyllable  dissyllable. ' 

*  monosyllable  trisyllable. ' 

*  monosyllable  quadrisyllable. ' 
'  monosyllable  jjentasyllable. ' 

*  dissyllable  monosyllable. ' 

*  dissyllable  dissyllable. ' 

*  dissyllable  trisyllable. ' 

'  dissyllable  quadrisyllable. ' 

*  dissyllable  pentasyllable. ' 
'  dissyllable  hexasyllable. ' 

*  trisyllable  monosyllable. ' 

*  trisyllable  dissyllable. ' 

*  trisyllable  trisyllable. ' 

*  trisyllable  quadrisyllable. ' 

*  trisyllable  pentasyllable. ' 

*  trisyllable  hexasyllable. ' 

'  quadrisyllable  monosyllable. ' 

*  quadrisyllable  dissyllable. ' 

*  quadrisyllable  trisyllable. ' 

'  quadrisyllable  quadrisyllable. ' 
'  quadrisyllable  pentasyllable. ' 

*  quadrisyllable  hexasyllable. ' 
'  pentasyllable  monosyllable. ' 

*  pentasyllable  dissyllable.  * 

*  pentasyllable  trisyllable. ' 

*  pentasyllable  hexasyllable. ' 
'  hexasyllable  monosyllable. ' 

*  hexasyllable  dissyllable. ' 

*  hexasyllable  trisyllable. ' 


Inil 

InB 

InC 

1 

2 

2 

0 

verses  end 

2 

52 

39 

9 

verses  end 

3 

44 

36 

5 

verses  end 

4 

2 

0 

0 

verses  end 

5 

19 

0 

0 

verses  end 

6 

2 

7 

0 

verses  end 

7 

32 

8 

34 

verses  end 

8 

76 

31 

8 

verses  end 

9 

63 

0 

12 

verses  end 

10 

0 

0 

0 

verses  en*l 

11 

3 

0 

0 

verses  end 

12 

1 

1 

0 

verses  end 

13 

82 

12 

5 

verses  end 

14 

170 

115 

64 

verses  end 

15 

0 

1 

1 

verses  end 

16 

1 

0 

0 

verses  end 

17 

3 

0 

0 

verses  end 

18 

1 

0 

0 

verses  end 

19 

73 

35 

127 

verses  end 

20 

3 

20 

22 

verses  end 

21 

0 

1 

0 

verses  end 

22 

0 

0 

0 

verses  end 

23 

«> 

0 

2 

verses  end 

24 

1 

0 

0 

verses  end 

25 

1 

5 

21 

verses  end 

26 

0 

3 

3 

verses  end 

27 

1 

0 

0 

verses  end 

28 

0 

0 

0 

verses  end 

29 

0 

1 

3 

verses  end 

30 

0 

0 

1 

verses  end 

634       317       317 


Vol.  1] 


Richardson. — Horace's  Alcaic  Strophe. 


TABLE  IV. 


197 


This  table  takes  account  of  all  words  found  in  Horace's  Alcaic 
strophe,  showing  their  length  in  terms  of  syllables,  their  relative 
frequency,  and  the  places  of  the  verse  in  which  they  end.  The 
table  is  to  be  read  as  follows :  199  monosyllables  stand  in  the 
first  space  of  A;  211  dissyllables  end  in  the  second  space  of  A;  60 
trisyllables  end  in  the  third  space  of  C;  and  so  on. 


Monosyllables  in 


Dissyllables  in 


Trisyllables  in 


Hexasyllables  in 


1st 
space 


84 
69 


2nd      3rd 
space  space 


Quadrisyllables  in  <^  B 

C 


Pentasyllables  in 


80 

8 
2 

211 
75 
99 


42 

39 
10 

67 

65 

9 

199 

155 

60 


4th 
space 

31 
49 

27 


5th 
space 


49* 

It 

4 


8    276 

I 

30 

83  '      5 

10    241 
2      13 

55    ;         1 

i 
4  '    42 

5 

87        2 

1 

i    21 

I 

3 

I      2 


6th   !    7th       8th 
space  space  space 


201 
41 

1 

37 
49 


4 

39 

5 

140 

8 
8 


1 
144       13 

I 

.21    70 


26  I    36 
23     127 


5 
4 

1 
1 


45 
2 

94 

7 
34 

205 
1 
5 


9th 
space 


21 


52 
10 

33 
100 

83 
205 

73 
2 


lOth 

11th 

space 

space 

2 

7t 

2 

240 

189 

103 


293 


13 
1 


65 


20 


Total 


9 


*  Of  these  12  are  preceded  by  elision  (2  in  Book  I,  2  in  Book  II,  and  8  in 
Book  III)  and  3  arise  from  elided  dissyllables. 
t  All  preceded  by  elision,  except  two. 
t  Preceded  by  elision. 


712 
273 
127 

1071 
322 
476 

1033 
533 
296 

181 

69 

232 

43 
11 
27 

9 
1 
6 


198 


University  of  California  Publications.    [Class.  Phil. 


Vol.1] 


Ilichardson. — Horacc^s  Alcaic  Sitrophe. 


199 


TABLE  V. 


Total : 
11  cases  within  strophes. 
4  eases  between  strophes. 


Interveree  hiatus  occurs  fifty  times,  as  shown  in  the  following 
enumeration.  Cases  falling  between  verse  C  and  verse  A  are  en- 
closed within  parentheses,  being  less  objectionable  than  those 
within  a  single  strophe ;  cases  involving  an  exclamative  monosyl- 
lable, likewise  little  objectionable,  are  marked  with  an  asterisk. 

I,  9,  7*;   14.  "      ' 

I,  16,   (16) ;  27. 

I,  17,  6;   13;    (16);  25. 

I,  26.     None. 

I,  27.     None. 

I,  29.     None. 

1 ,  t5 1 ,  •} ;   14. 

I,  34.     None. 

I,  35,  9;    (12);    (32);   38. 

II,  3,   (12);    (24). 
II,  5,  9. 
II,  7.     None. 
II,  9,  3;    (12). 
II,  11.     None. 

II,  13,   (4);   7;    (8);   11;  21;  26;    (28). 
II,  14,  3. 
II,  15.     None. 
II,  17,   (4*);    (20). 

XX,      Xa7,      t5X. 

II,  20.     None. 

III,  1.     None. 
Ill,  2,  17;    (24). 
Ill,  3,   (8);    (40). 

Ill,  4,   (4);    (16);    (28);    (72);    (76). 
Ill,  5,  10;   11;    (12);    (24);    (36);  46. 
Ill,  6.     None. 
Ill,  17.     None. 
Ill,  21.     None. 
Ill,  23,   (16). 

III,  26.     None. 

JIXXj^    4m  if*       JJN  Olio* 

IV,  4,   (4). 
IV,  9.     None. 
IV,  14.     None. 


Total : 

8  cases  within  strophes. 

9  cases  between  strophes. 


Total : 
4  cases  within  strophes. 
12  cases  between  strophes. 


Total: 
1  case  within  a  strophe. 
1  case  between  strophes. 


^[any  instances  of  interverse  hiatus  in  a  poem  indicate  imma- 
turity in  the  poet's  art,  intractability  of  material,  or  conditions 
of  composition  some  way  unfavorable.  Ode  II,  13,  for  example, 
shows  not  only  seven  cases  of  interverse  hiatus  but  the  following 
unusual  points:  Verse  22  (.1)  has  a  form  not  found  elsewhere 
in  Horace:  that  of  verse  33  {A)  occurs  again  only  in  II,  7,  13; 
that  of  verse  14  {A)  occurs  again  only  in  I,  34,  10,  and  III,  4, 17 ; 
that  of  verse  27  (5)  is  unique;  that  of  verse  19  (B)  occurs  again 
only  in  III,  6,  11;  that  of  verse  8  (0)  is  unique;  that  of  verse  12 
occurs  again  only  in  I,  9,  24. 


>] 

i''<l 


200 


Unufersity  of  Calif ornia  Publications.    [Class.  Phil. 


TABLE  VL 


Features  of  rare  oeeurrenee  may  hy  their  very  rarity  throw 
lisrht  on  the  nature  of  the  verse.  One  may  thus  see  what  the  poet 
generally  avoids  and,  by  contrast,  what  he  seeks.  The  following 
verses  of  Horace  are  eacli  unique  as  regards  arrangement  of 
caesuras  and  diaereses.  Rightly  interpreted  they  form  a  sort  of 
Alcaic  antibarbanis. 


I,  9,  8 
l,j   Hj    It) 
I,  16,  24 

M.  m        JL   i   f        Jl.  Tt' 

I,  26,  11 

I,  26,  12 
1,  27,  14 
T,  29 

A,   ol ,   J  o 

I,  31,  16 

I,  34,  10 

I,  35,  11 

I,  35,  21 

1,    oO,    «i»» 

1,  37,  6 
I,  37,  14 

I,  37,  20 

II,  1,  4 

ir,  1,  11 
n,  1,  35 

IT,  1,  36 

i.X,    o,   o 

II,  3,  15 

1.1,   o,  idZ 

II,  3,  27 
11^  5 

II,  7,  19 

II,  9,  4 

II,  9,  13 

II,  11,  10 

II,  loj  8 
II,  14,  11 

11,    JLdy   O 

Mm.JL.m  JL    i     tf  M 

11,  17,  21 


O  Thaliarelie  nierum  diota. 

quid  sit  futiirum  eras  fuge  quaerere  et. 

fi'ivor  ft  in  eeleres  iambos. 

et  musa  eordi  est.  hie  tibi  copia. 

hunc  Lesbio  sacrare  plectro. 

tecjue  tuaaqiie  decet  aorores. 

mereede.  quae  te  cumque  domat  Venus. 

None. 

dis  earns  ipsis,  quippe  ter  et  quater. 

me  cjehorea  levesqiie  malvae. 

quo  Styx  et  invisi  horrida  Taenari. 

regumque  matrea  barbaronim  et. 

te  Spea  et  albo  rara  Fides  colit. 

incude  diffingaa  retusum  in. 

eellis  avitis  dum  Capitolio. 

mentemque  lymphatam  Mareotico. 

Haemoniae  daret  ut  catenis. 

prineipum  aniicitias  et  arma. 

res  ordinaris  grande  niunus 

non  decoloravere  caedes. 

quae  caret  ora  cruore  nostro. 

ab  insolenti  teniperatam. 

hue  vina  et  unguenta  et  nimium  brevis. 

dum  res  et  aetas  et  sororuin. 

nil  interest  an  pauper  et  infinia. 

sors  exitura  et  nos  in  aeternum. 

None. 

depone  sub  lauru  niea  nei'. 

usque  nee  Armeniis  in  oris. 

at  non  ter  aevo  functus  amabilem. 

quaerere  nee  trepides  in  usum. 

vernis  neque  uno  luna  rubens  nitet. 

cur  non  sub  alta  vel  platano  vel  hac. 

hospitis;  ille  venena  Colcha. 

enaviganda  sive  reges. 

evincet  ulmos.  turn  violaria  et. 

nee  dis  amieum  est  nee  niihi  te  prius. 

utrunique  nostrum  incredibili  mode. 


(C) 
(A) 
(C) 
(A) 

(B) 
(C) 
(^0 

(A) 
(C) 
(A) 
(B) 
(A) 
(B) 
(A) 
(A) 
(C) 
(C) 
(B) 
(B) 
(C) 
(B) 
(A) 
(B) 
(A) 
(B) 

(B) 
(C) 

(A) 
(C) 
(A) 
(A) 
(C) 
(B) 
(A) 
(A) 
(A) 


Vol.  1] 


Rich  a rdson . — Eo race 's  A Icaic  Stroplw . 


201 


II, 

19, 

19 

n. 

19, 

26 

II, 

20 

II  r 

,  1, 

11 

III 

9 

f    —f 

5 

III 

,  3, 

24 

III 

,  3, 

49 

III 

,  3, 

64 

m 

4. 

8 

III 

4, 

9 

in, 

4, 

20 

III, 

4, 

41 

III, 

4, 

59 

III, 

4, 

70 

TIT, 

4, 

75 

III, 

'">, 

10 

III, 

5, 

12 

TIT, 

5, 

14 

in. 

'■>, 

21 

ni. 

•"), 

43 

in. 

•">, 

.j() 

in, 

6, 

18 

HI, 

17 

TIT, 

21, 

10 

III, 

21, 

21 

111, 

23 

HI. 

2<i. 

9 

HI. 

29, 

3 

HI. 

29, 

5 

HI, 

29, 

7 

HI, 

29, 

9 

HI, 

29, 

12 

III, 

29, 

30 

HI, 

29. 

32 

III, 

29, 

40 

HI. 

29. 

49 

IV, 

4,  9 

IV, 

4,  i 

to 

iv, 

4,  5 

»2 

IV, 

4,  r: 

'6 

IV, 

4,  7 

■0 

IV. 

9,  1 

TV, 

9,  2 

6 

IV, 

14, 

5 

IV, 

14, 

17 

IV, 

14, 

24 

TV. 

14, 

33 

IV, 

15 

node  coerces  viperino. 

ludoquo  dictua  non  sat  idoneus. 

None. 

deaeendat  in  eanipum  petitor. 

vitamque  sub  divo  et  trepidis  agat. 

cum  populo  et  duce  fraudulento. 

aurum  inrepertum  et  aic  melius  situm. 

coniiige  me  lovis  et  sorore. 

quos  et  aquae  subeunt  et  aurae. 

me  fabuloaae  Volture  in  Appulo.   ' 

non  sine  dis  animosus  infans. 

voa  lene  consilium  et  datis  et  dato. 

Volcanus  hinc  matrona  Tuno  et. 

aententiarum  notua  et  integrae. 

miasos  ad  Orcum  nee  peredit. 

aneiliorum  et  nominis  et  togae. 

ineolumi  love  et  urbe  Roma. 

dissentientis  condicionibus. 

derepta  vidi,  vidi  ego  eivium. 
ab  se  removisse  et  virilem. 
aut  Lacedaemonium  Tarentum. 
primum  irquinavere  et  genus  et  domos. 

No  re. 

sermonibus  te  negleget  horridus. 

te  Lilier  et  si  laeta  aderit  Venus. 

Nore. 

()  quae  heatam  diva  tones  Cyprum  et. 

cum  floro  Maecenas  rosarum  et. 

iamdudum  apud  me  est.  eripe  te  morae. 

declive  contempleris  arvum  et. 

fastidiosam  deaere  copia  m  et. 

fumum  et  ojtea  strepitumque  Romae. 

caliginoaa  nocte  premit  deus. 

fas  trepidat.  quod  adest  memento. 

cum  fera  diluviea  quietos. 

Fortuna  saovo  laeta  negotio  et. 

venti  paveiitem  mox  in  ovilia. 

nee  scire  fas  est  omnia  sed  diu. 

fallere  ot  effugere  est  triumphus. 

pertulit  Ausonias  ad  urbis. 

nomiris  TIasdrubale  interempto. 

ne  forte  credas  interitura  quae. 

multi  aed  omnes  inlacrimabiles. 

aeternet  O  qua  sol  habitabilis. 

spectandua  in  certamine  Martio. 

mittere  equum  medios  per  ignis. 

te  copias  te  consilium  et  tuos. 

None. 


(B) 

(A) 

(B) 
(A) 
(C) 
(A) 

(C) 
(C) 
(A) 
(C) 
(A) 
(B) 
(A) 
(B) 
(A) 
(C) 
(A) 
(A) 
(B) 
(C) 
(A) 

(A) 
(A) 

(A) 

(B) 

(A) 

(B) 

(A) 

(C) 

(A) 

(C) 

(C) 

(A) 

(A) 

(A) 

(C) 

(C) 

(C) 

(A) 

(A) 

(A) 

(A) 

(C) 

(A) 


I 


202 


University  of  California  Publications.    [Class.  Phil. 


Vol.1]  Richardson. — Horace's  Alcaic  Strophe. 


203 


i 


It  must  not  be  supposed  that  because  a  verse  is  i-are  in  form  it 
is  uiM'cssarily  crude.    Some  verses  are  rare  (1)  by  design,  as,  for 
instance,  might  result  from  onomatx)poeia :  some  (2)  by  chance, 
the  unusual  features  being  purely  accidental ;  some  (3)  by  defect. 
Like  the  cases  of  interverse  hiatus,  these  last  arise  from  imma- 
turity in  the  poet's  art,  intractability  of  material,  or  conditions 
of  composition  some  way  unfavorable,  as  may  be  inferred  from 
the  circumstance  that  where  such  verses  al)ound  other  irregular- 
ities are  likely  to  be  found.    In  I,  37,  for  example,  along  with  the 
unduly  similar  word-arrangements  of  verses  21,  22,  and  23,  the 
objectionable  fifth-space  division  of  verse  23.  the  absence  of  the 
regular  division  in  verses  5  and  14,  the  two  dissyllables  at  the 
outset  of  verse  5,  and  other  features  shown  in  the  three  examples 
above  quoted,  we  find  interverse  hiatus  after  verse  11  and  a  short 
initial  syllable  in  verses  15  and  22.     In  III,  4,  along  with  the 
monosvllable  closing  verse  59  and  other  features  shown  in  the 
seven  examples  above,  we  find  a  prosodic  irregularity  in  verse 
41  and  five  cases  of  interverse  hiatus.     In  III,  29,  along  with 
four  ven:es  closing  with  a  monosyllable  (three  in  the  first  three 
strophes),  the  two  dissyllables  at  the  outset  of  verse  5,  and  the 
other  features  shown  in  the  nine  examples  above,  we  find  verses 
35-36  connected  by  interverse  elision.     It  should  be  noted  also 
in  this  poem  that  the  form  of  verse  36  is  repeated  in  verse  52,  but 
nowhere  else  in  Horace,  and  the  form  of  verse  2  occurs  elsewhere 
only  in  III,  4,  65. 


■ 


TABLE  VII. 

Horace  allowed  a  short  syllable  to  begin  a  verse  of  the  Alcaic 
Strophe  in  the  following  cases: 

I,  9,  1  A 

I,  16,  19  B 

I,  17,  7  B 

I,  27,  17  A 

I,  27,  22  A 

I,  29,  7  B 

I,  29,  14  A   (common  syllable) 

1,  31,  9  A 

I,  31,  17  A 

T,  35,  1.5  B 

I,  35,  37  A 

I,  35,  38  A 

I,  37,  15  B 
T,  37,  22  A 

II,  1,  6  A 
II,  3,  3  B 
II,  7,  22  A 
II,  9,  5  A 

II,  13,  29  A   (common  syllable) 

II,  14,  6  A 

II,  17,  3  B 

II,  n,  21  A   (common  syllable) 

II,  19,  22  A 

II,  20,  11  B 
HI,  1,  2  A 
in,  1,  22  A 

III,  1,  26  A 
III,  3,  34  A 
III,  3,  71  B 
III,  4,  78  A 
III,  5,  22  A 

III,  29,  11       B 

IV,  4,  58  A   (common  syllable) 

Summary  of  cases  in  .4  (common  syllables  not  included)  : 

Book  I  8  cases 

Book  II  5  cases 

Book  III  6  cases 

Book  IV    0  cases 

Total    19  cases 


204  University  of  California  Publications.    [C^^^ss.  Phil. 

Summary  of  cases  in  B: 

Book  I  5  cases 

Book  II  3  cases 

Book  III  2  cases 

Book  IV    0  cases 

Total    10  c^^^ 


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Charles  Atwood  Kofoid.    Pages  1  a 
No     8     On    the    Significance    of   the   Asymmetry    in    Tnposolenia,   by 
-•  Charles  Atwood  Kofoid;     Pages  7. 

Ostracoda  of  the  San  Diego   Region.     II.-Littoral  Forms,  by 

Chancey  Juday.     Pages  22,  pis.  3. 
Cladocera  of  tbe  San  Diego  Region,  by  Chancey  Juday.     Pages 
2,  text-figure  1 


No.    6. 


No.    7. 


No.    9. 
No.  to. 


vfolume  No.  IX.        __________ 

A*in».  .11  orders,  »r  ;«,ues,s  for  \nJorrn.^o»  concerning  .he  .bove  pub.icartons 

,K2^rB«:'^«^£  ^g^^A^oreHe.1.  Ar?b,e. 
ttlosy  and  Ethnology,  E.  Friedlaaacr  ft  Salm,  Berlin. 


